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Selecting images with Fluid Mask 2 |
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(Page 2 of 4) Edge Detection
 When you enter Fluid Mask 2 through the Photoshop Filters menu it is performing the analysis of the image (the larger the image the longer this process will take) and shows it to you divided into segments or regions of contiguous color.
This is the main feature of Fluid Mask 2 absent in the previous version and making the selection process much quicker and easier. Now, when using the local brush tool you can either point it to the exact color region or move through several regions at once and know exactly what will be selected. Whereas in the previous version of Fluid Mask you could have this kind of selection with lots of uncovered space around the edges and long tedious work ahead.The size of the regions and the quantity of them are regulated through a separate Edge Detection Options menu (appears on the left) so that you can adjust them to your particular needs. There are 4 changeable characteristics in it. Below you can see how they work: Edge Sensitivity: In focus Edge Width: Edge Contrast: Texture Filter: Quick maskingWith simple images, such magnolia above, where you have a bright and sharp object on a relatively neutral one color background, Fluid Mask 2 allows the use of so called Quick Masking. You usually fill in one of the masks, either Keep or Drop, and then Apply the mask. The program will automatically add the opposite mask and the Complex mask outline and do the cutting. The result may need to be refined afterwards (which means the improving of the mask) as with the tulip photo on the right but can be satisfying without any other operations (see magnolia picture above).
As for the tulip I applied Local Drop brush (the drop area is usually filled in the first and the local brush is used the most) with the thick head medium strength and draw a stroke through almost all the segments of the background. It worked fine. I only had to work a little with the eraser and add some keep strokes on the curly edges of the tulip head. Then I applied the selection. The resulted image looks good apart form some smallish green patches around those problematic curly petals. They were removed under magnification with the exact Keep Brush. It just took a little more time and precision. Overall, the selection process was quickened a lot for all the rough work was performed by the program.
The tulip here has a very bright and consistent color. So I could work on the Keep mask and create the Drop mask automatically to the same defect and with the same speed. But usually you have to decide which mask is easier to create.
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